8/10
Captain Phillips is heavy on compare and contrast. There are two tough Captains, two wary crews,
and two missions to complete. Setting up
a battle of wills, wit, and nerve between the two Captains, Captain
Phillips threads a thin line between formulaic kidnapping and larger
geo-political issues that are really behind the attackers’ motivations.
Starting with déjà vu references to Cast Away, Captain
Phillips (Tom Hanks) says goodbye to his wife telling her he’ll be safe and
will be right back. This time, we are
saturated with the transportation/shipping company Maersk instead of Fed
Ex. Phillips leads a crew sometimes more
interested in union rules than trying to familiarize themselves with sailing
through the most dangerous waters on Earth, off the Somalia coast lugging cargo
from the Middle East to East Africa.
On the other side, Muse (Barkhad Abdi), is under the thumb
of a local Somali warlord. Even though
he successfully hijacked and ransomed a Greek ship within the past few weeks,
he is forced back out on the water again by machine gun toting thugs demanding
even more piracy operations. He picks
his rag-tag volunteer crew who appear more interested in food than the prospect
of millions of dollars in ransom they will not see anyway since almost all the
dough is kicked up the ladder to the guys with guns.
The plot and ensuing actions are dangerously close to
mundane and expected not because of sub-standard filming or a lazy script, it’s
because everyone in the theater already knows there will be a kidnapping. There is an intense chase sequence of the
gigantic cargo ship by the threadbare Somali crew, but we all know they get
aboard and take Captain Phillips hostage; otherwise there will be no
movie. Even if you do not remember the
true events behind the film from 2009, the preview ensures you will know
everything that happens all the way up to the movie’s climax.
Captain Phillips is an effective film because it is strong
enough to overcome everything we already know about the plot. I know the ship gets taken over, yet the
suspense of the take-over operation is palpable. I know Phillips gets put on a smaller
lifeboat vessel with the kidnappers, but how that comes about is
interesting. Kudos to director Paul
Greengrass (Green Zone, 2010; United 93, 2006) and screenwriter
Billy Ray (The Hunger Games, 2012) for creating clear and defining
characteristics for each of the kidnappers.
We know who the vicious one is, who the kid is, and definitely who
Captain Muse is.
This is Barkhad Abdi’s first acting role ever; he answered a
newspaper ad in his adopted home of Minnesota.
He is menacing at times to assert his authority, he is exasperated
because he just wants to do this business and get paid, and he is most of all
afraid of going back home empty-handed.
Unfortunately for Muse, he kidnapped an American-flagged vessel not
knowing the U.S.’s policy of non-negotiation.
In direct contrast with the screaming and in-fighting Somali crew, the
Navy SEALs launched toward the lifeboat are ready to kill some people.
Tom Hanks, as usual, delivers a believable and sympathetic
character. His northeastern accent
supposedly matches the real Captain Phillips down to the last syllable and it
is intriguing to watch Hanks and Abdi spar against one another. I categorized Hanks’s portrayal of Phillips
as one of his more average performances until the end. While not giving anything away, Tom Hanks
catapults his performance into the stratosphere at the end; it is truly a gut-wrenching
scene to watch and should be remembered come Oscar time.
My slight complaint with the film is its only brief scenes
in Somalia and cursory examination of why Muse is out on the water in the first
place. Muse does not personally crave
millions of dollars in ransom; in fact, his life is already ransomed back home
if he returns with nothing. Muse and his
crew are microscopic pawns in a much larger operation of organized piracy
financed by unseen hands long removed from war-ravaged and poverty-stricken
Somalia. A deeper examination of these
driving issues would place Captain Phillips among the year’s
best, but it remains an above-average thriller without it.
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